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After much discussion and deliberation in the shop we now have our end of year chart to present to you. It’s a top 40 of albums that we have enjoyed listening to this year and reflects the different musical tastes of all the staff who work at Crash. We hope you will find it interesting … Continue reading →

Kaiser Chiefs have returned to their original label home, Polydor, with whom they released their first 4 albums and on Friday 30th November will be reissuing their debut “Employment” and follow up “Yours Truly, Angry Mob” on vinyl. Both albums have been unavailable on this format for many years. We are now taking pre-orders for … Continue reading →

RT @jfk01 Great tribute to BRUCE SPRINGSTEEN - THE BOSS & THE BEESTON STREET BAND. Playing the whole of BORN IN THE USA album + 2 hours of Brucie favourites and a few rarities. Tickets £8 advance from Jumbo Records, Crash Records and See Tickets (subject to booking fee). @Nath_Brudenellpic.twitter.com/RpeY…

Want to win 2 FREE tickets to Absolute Bowie @O2AcademyLeeds this Thursday?
Email [email protected] with subject header "Absolute Bowie" and give us your name. We are drawing names out at random today. If you're a winner you and a plus one will be added to the guest list. pic.twitter.com/dnZX…

Product Description

Release Date Friday 11th January 2019All pre-orders will be dispatched/ready for collection on that date.

You Tell Me is Field Music’s Peter Brewis and Admiral Fallow member Sarah Hayes. As one half of Field Music, Peter Brewis has been honing the craft of pop songwriting for almost fifteen years, whilst Sarah Hayes has been exploring contemporary folk in her solo work, and the world of indie-pop via her band Admiral Fallow. Their debut self-titled album, the last to be recorded at the old Field Music recording HQ, is set to be released in January on Memphis Industries.

After meeting at a Kate Bush celebration concert, the pair clicked. “I’d been an admirer of Field Music for a good while before meeting Peter at the gig,” Sarah recalls. “So I was pleased to discover he wasn’t an insufferable diva, and delighted that he was keen to try working on some music together.” Peter had been “blown away” by Sarah’s voice during a rendition of “This Woman’s Work” and when investigating her solo work heard a lot of parallels to what he was trying to do in Field Music.

By blending their distinct compositional talents, they’ve created a record that possesses their own clear styles but also a new voice too. With both of them writing songs and lyrics, Peter describes it as “a sort of dual-personal record”. Sonically, the result is a subtly crafted album with a rich and intricate sense of composition, in which strings glide above multi-layered keyboards and percussion, and vocal melodies wrap around one another in snug unison. In many senses it feels like a classic songwriter record – rich in craft, songs, arrangements and vocal interplay – yet it manages to feel stylistically contemporary and void of nostalgia.

Lyrically, Peter says, “most of the songs seemed to either be about conversations, be conversational or about talking or not talking.” Sarah echoes this: “the subject of communication – talking and listening, guessing and questioning – looms large on this record and in general for me. It’s something I think about a lot.” Which makes sense given that this record is fundamentally a musical conversation between two new collaborators and friends, a constant back and forth of new ideas, shared influences and the expunging of inner feelings.

Whilst the subject matter can occasionally be personal and explores troubled or conflicted conversations around inner turmoil, there’s also a stirring sense of beauty that comes from
the record; a feeling of pastures new and moving onto new things rather than being held back by the past. What makes this an even more remarkable musical statement and achievement is that two first-time collaborators were able to channel so much of themselves into a project and create something coherent and poised.